Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...
In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...
'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...
Andrew Browne with The Awakening (2017). Courtesy Tolarno Galleries.
In a ceremony at Geelong Art Gallery on Friday 8 June, Andrew Browne was named the winner of the 2018 Geelong contemporary art prize for his work, The awakening. A biennial acquisitive award for contemporary painting with a cash prize of $30,000, the judging panel comprised Justin Paton (Head Curator of International Art, Art Gallery of New South Wales), Rebecca Coates (Director, Shepparton Art Museum) and Lisa Sullivan (Senior Curator, Geelong Gallery).
The judges commented: "This was a work that drew us in immediately and kept drawing us back. The key to its power is the board at the centre with its staring black 'eyes', backlit by a haunting nocturnal glow. With its flicks, smudges and overruns of colour, the plywood board suggests a painted surface hidden to the viewer, sharpening our curiosity about what has been made - or is being made - on the other side. The object could be read in multiple ways: as a redundant protest placard tied against a tree, or an abstracted crucifix-like form with looming attendants on each side. Gothic and film-noir-esque, the painting's moodiness and ambiguity are absolutely of our times. This may be an image of the fate of painting, or a broader evocation of a world where troubling events transpire on the edge of our awareness."
Andrew Browne will present a floor talk at Geelong Art Gallery on Saturday 23 June at 11.30am.
Tolarno Galleries has been at the cutting edge of contemporary Australian art for many years. Four artists have represented Australia at the Venice Biennale and the exhibition program attracts the attention of collectors, curators and critics from around the globe.
‘Currency is the common denominator for all artists represented by Tolarno Galleries,’ Max McLean wrote in 2002. ‘Not currency in the fiscal sense – although Tolarno is a commercial gallery, and a highly successful one at that – but currency understood more in the sense of an electric charge, of contemporaneity, and of cultural and intellectual exchange.’
With a reputation for showing fresh (often young) artists, it may come as some surprise to recent visitors to know that Tolarno Galleries was established in 1967. It has shown some of Australia’s – and the world’s – best known artists, from Bonnard to Sol Le Wit and Jeff Koons.
...there is only one Andrew Browne – an artist who consistently keeps evolving and re-evolving both the possibilities of paint on canvas and the way in which it relates to the physical world... He draws from a wide field
of references, including photography, cinema and art history, to devise a new approach to image making, which
is governed by the joint dictates of sensation, innovation and revelation. – Simon Gregg, Curator, Gippsland Art
Andrew Browne’s long affair with the medium of paint is at the heart of his solo exhibition, Spill. Extending his interest in landscape and natural phenomena, here his curious eye falls upon the suggestive ambiguities of water and the effects of light.
Spill is a meditation on the very substance of paint and the existential drive to deepen the game of painting itself.* Browne’s practice draws from his own photography, his eye trained to happen upon the anthropomorphic lurking within nature. But through his painting process nature becomes stylised and reductive. There are echoes here of the uncanny gothic character of his earlier series of apparition-haunted paintings and photogravures.
Spill impels us to pause and consider the power of water and its tendency towards spilling and falling... often over precipices. In Threshold we find an androgynous figure – perhaps an avatar or metaphor for the artist – poised in a charged cinematic moment of uncertainty, balancing on a makeshift bridge of fallen boughs or rocks, as white waters cascade violently behind. You can almost hear the roar of the waterfall, and sense the silently screaming vertigo of the figure. Head bowed, we might wonder – is this figure engrossed in a mobile phone screen in an effort to obliterate the world around; humbled in the presence of nature’s might; or merging into bridled chaos?
The monochromatic palette heightens the drama of the works. Fall #1 appears as a vertically flowing wall of water, and yet the limbs and body of an eerie figure loom in and out of view, recalling a Japanese horror film where a creature crawls out of the unreal into the real. Fall #2 has an ominous sense of the levee about to break. Rather like the clamouring media on the edge of a political #spill, its tension is palpable.
The exhibition behaves as a fluid ecosystem. Large charcoal drawings, and paintings dramatically different in scale, widen the lens to take in vistas and narrow again on details. We float in a sea of free association and surreal juxtaposition.
Andrew Browne has had survey exhibitions at Bendigo Art Gallery (1999), McClelland Gallery and Sculpture Park (2010), accompanied by a hard-cover monograph, and Gippsland Art Gallery (2012), accompanied by a thirty- two page fully-illustrated catalogue. In 2013 Andrew received the Australian Print Workshop – Collie Print Trust Fellowship, resulting in the Six Intaglios exhibition in May 2013. Andrew Browne won the Adelaide Perry Prize for Drawing in 2016.
His work was recently featured in such public institutions as National Gallery of Victoria: Every Brilliant Eye: Australian Art of the 1990s (2017) and Negotiating this world: Contemporary Australian Art (2012). As well, his work was included in: Luminous World – Contemporary Art from the Wesfarmers Collection at the Art Gallery of Western Australia (touring throughout 2012-16 to National Library Canberra, Samstag Museum of Art in Adelaide and Ian Potter Museum of Art, Melbourne); Photographic Abstractions at Monash Gallery of Art (2012); and Panorama at TarraWarra Museum of Art (2016).
*“the artist... must really deepen the game to be any good at all,” from Interviews with Francis Bacon by David Sylvester.
The 58th edition of the Venice Biennale, May You Live in Interesting Times curated by Ralph Rugoff–from London’s very own Hayward Gallery–proves to be as interesting as its title promises. Venice is an easy city to get lost in, and it’s easy to see why Proust dubbed the city’s labyrinth of alleyways a network of 'innumerable slender capillary...
In World Cup, currently showing at Sadie Coles HQ, the bodies have faces. There is a series of private detective style portraits of white male professionals, photographed from afar in frantic motion. They mostly wear earbuds and appear distracted from the world by tiny interior crises. These portraits are entirely free from the manipulations that...
The 2019 Auckland Art Fair is the big news this week in the New Zealand art world. From today until Sunday more than 40 galleries from New Zealand, Australia, China, The Cook Islands, Indonesia and Chile will be vying for the attention of your art eyeballs. Located in the Cloud on Auckland's waterfront the fair, based on previous iterations, will...
Frieze New York, the eighth edition of which takes place Thursday through Sunday in Randalls Island Park, has distinguished itself as a thoughtful entry in the global art fair derby, offering copious curated sections and special projects in addition to serving as a commercial hub.But the lesson learned from the 2018 New York fair is that the...
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